F>RICE 15 CENTS 




Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

FARM FOLKS. A Rural Play in Four Acts, by Arthur 
J-EWis Tubes. For five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. Price, 25 cents. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubes. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior — same for all four 
acts. Costvimes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is; he orders him to leave 
Ruth. Harold, who does not love sincerely, yields. Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. Price 25 cents. 

THE OLD NEIV HAMFSHIBE HOME. A New 

England Drama in Three Acts, by Frank Dumont. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the "Old Homstead" and "Way Down East" type. Two ex- 
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everybody understands and likes. Price, 25 cents. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 
in Three Acts, by Frank Dumont, For five males and four 
females. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer's 
niece, whose husband he claims to be. Her escapes from the 
wiles of the villain and his female accomplice are both starting 
and novel. Price, 15 cents. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Five Acts, by Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker's daughter, which 
results in their betrothal. A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girl. Price 
15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



JERRY'S JOB 



A Play for Boys in One Act 



By 
RAYMOND M. ROBINSON 




PHILADELPHIA 
THE PENN PUBLISHING COMPANY 






Copyright 1917 by The Penn Publishing Company 




J^ 



Jerry's Job ©Cl.D 487 3 5 

■M 17 1918 



. \u - / 



Jerry's Job 



CHARACTERS 

Mr. Morton . . head of the lutercolojiial Con- 

strnctioii Company 
Mk. Hamilton » . . . . his partner 

Jknkins ....... dratightsman 

'1 UMMY . . . . an office boy, but a poor one 

Jerrv . . . . .a Boy Scout who needs a job 

Time. — Thirty minutes. 



STORY OF THE PLAY 

Tommy, the office boy of the Intercolonial Con- 
struction Company, is careless. Jerry West, a Boy 
Scout, calls and asks for a job. Tom is caught lying 
and is discharged; Jerry, taking his place, is left in 
charge of the office. While Jerry answers the tele- 
phone, Tom takes vengeance by spilling ink on a draw- 
ing and breaking the glass on a picture. Jerry is 
accused and fired. He comes back to get his cap and 
meets Tommy, who is making his escape. " It was 
you. You've got ink on your hands now ! " Tommy 
hits Jerry, Vn^Iio knocks him down and he cuts his hand 
on the broken glass. Jerry, familiar with " First Aid," 
binds it up and Tommy, overcome by Jerry's straight- 
ness, confesses. " I guess I ain't got anything against 
vou. I busted that picture." " Where'd you learn the 
Red Cross stuff?" ''It's a part of the Boy Scout 
training. They teach you lots of things, — First Aid and 
athletics and wireless and — and how to live right, — 
straight, I mean." Jerry helps Tommy join the 
Scouts; he keeps his job and Tom is promised a job, 
too, if he makes good. 



COSTUMES AND MAKE-UPS 

Morton. A tall man of about fifty, rather dignified 
in appearance. Gray wig (or the hair may be pow- 
dered), and a short gray moustache. Dark business 
suit. 

Hamilton. Tall, about thirty-five. Business suit. 

Jenkins. About twenty-one or tv/o. Somewhat 
sporty in appearance. Light-colored suit of the sort 
that clothiers advertise as the latest cut for young men. 
He wears a shirt of rather conspicuous design and a 
brilliant tie. When he first appears he has no coat on, 
and his shirt sleeves are rolled up to the elbows. He 
wears tortoise-shell spectacles because he thinks they 
are " stylish." 

4 



PROPERTIES 5 

ToiMMY. A small boy of about fifteen. Red- 
headed, if possible. He wears knickerbockers. His 
clothes are worn and not particularly neat and his 
boots are dirty. Cap. 

Jerry. About Tommy's age and size. His clothes 
are old and show wear, but are clean. His hair is well 
brushed, in contrast to Tommy's ruffled head, and he 
gives the impression that he tries to appear as neat as 
possible. He wears knickerbockers, and carries a cap. 



PROPERTIES 

This list is intended to cover only '' hand properties," 
that is, small, articles used in the action of the play. 
It does not include furniture, etc., which is described 
elsewhere. 

A large drawing — the plan of a building — fastened 
to the table with thumb-tacks at the beginning of the 
play. 

A book on the desk. 

Hamilton carries a watch. 

A pencil on the table; a pencil and a few sheets of 
note paper on the desk; Jenkins has a pencil in his 
coat pocket — this should be a new one, long enough to 
be used in tightening the bandage on Tommy's wrist. 

A small package in Tommy's pocket. His pockets 
are stuffed with numerous other articles : scraps of 
paper, tobacco coupons, elastic bands, stubby pencils, 
erasers, one shabby glove, a dirty handkerchief, 
the remains of a cake of milk chocolate which is shed- 
ding its skin of tin- foil, etc. 

A picture, about twelve inches long, framed and 
with a glass. When first brought on by Jenkins the 
picture is neatly done up in wrapping paper and tied 
with a cord. 

A dust-cloth for Jerry. This should be placed just 
outside the door, r. 

A telephone bell outside the door, l. 

A slip of paper' for Jerry, on which he is supposed 
to write the telephone messages. 



^ SCENE PLOT 

A drawing about two feet square, in the center of 
which is a large ink stain. This drawing should be on 
tracing cloth such as is used by architects and en- 
gineers, if possible. If this cloth is not available, 
white paper may be used. 

A handkerchief for Morton. In the handkerchief 
is concealed a small bottle — a two-ounce vial is suf- 
ficient — containing beef juice to suggest blood from 
Tommy's wound. 



SCENE PLOT 



fNT£nion BAC/<iNa 




Scene. — The office of the Intercolonial Construc- 
tion Company. A typical room in a modern office 
building. The public entrance to the office is a door 
up c. At L. is a door opening into Mr. Morton's 
private office. At r. is a door to the draughting room. 
Along the back wall, on either side of the entrance, 
are rows of shelves filled with books, pamphlets and 
catalogues. Below the shelves are cupboards or little 
alcoves containing rolls of drawings and blue-prints, 
samples of brick and stone, M'Ood finish, odd pieces of 
hardware, plumbing and lighting fixtures, etc. These 
things are not essential to the action of the play, how- 



SCENE PLOT 7 

ever, and may be omitted if the stage manager finds it 
difficult to obtain them. They are only intended to 
" dress " the stage and to give it the appearance of the 
headquarters of a large building concern. Down r. is 
a large table on which is fastened the plan of a build- 
ing, a drawing about the size of a newspaper page. 
The table may be of plain, unpolished wood, or it may 
be simply a big drawing board, supported by a pair of 
wooden horses. There are stools each side of it. 
Down L. is a flat-topped desk, littered with papers and 
writing materials, also a book. Chair behind the desk. 
A typewriter on the desk will add to the businesslike 
appearance of the room, but is not necessary. On the 
walls are pictures suggesting the nature of the busi- 
ness — drawings or photographs of office buildings, 
factories, bridges, etc. 



Jerry's Job 



SCENE. — Office of the Intercolonial Company. At 
rise of curtain Hamilton is seated on stool at table, 
R. c. Morton is standing at his side. They are 
examining the drawing. 

Morton. H'm — pretty good. Is this drawing com- 
pleted, Hamilton? 

Hamilton. Practically. There are two or three 
notes to be added. 

Morton. I'd like to send the heating contractor a 
blue-print of it to-day. 

Hamilton. An hoiir's work will finish it. 

Morton. By the way — who made this drawing? 

Hamilton. Jenkins. 

Morton. Tell him tha,t he will be of more value to 
us when he learns to spell. Foundation is not spelled 
with a w. Chimney is not spelled c-h-i-m-n-y. And 
laboratory can get along with one r. 

Hamilton. The boy knows better than that. He 
is careless. 

Morton. Exactly — he is careless. How much 
education has he had? 

Hamilton. High school graduate — two years in 
college. 

Morton. There you are. The average boy or girl 
enters school at the age of six, spends anywhere from 
eight to eighteen years getting educated and then, after 
all that, can neither read, speak nor write the English 
language. 

Hamilton. Oh, you're a little severe on the young- 
sters. 

Morton. No, I'm not. Here's a boy who has 
probably been going to school for fifteen years spell- 

9 



10 jerry's job 

ing chimney c-h-i-m-n-y. The same boy only yester- 
day told me that he had received a set of blue-prints 
from the art-shi-teck's office. 

Hamilton {laughing). I'll bet he told you they 
showed the location of certain col-yumes. 

Morton. Right you are. He's like most of our 
school graduates. We teach them a little French, a 
little German, a little mathematics, a little music. They 
recognize the air " America," but can't repeat the first 
verse from memory. They read Shakespeare in school 
but prefer the movies for entertainment. They are 
told that Raphael painted the Sistine Madonna or 
something of the sort, but are far more interested in 
the so-called comic supplement of the Sunday news- 
paper. And they almost invariably pronounce a final 
i-n-g without the g. 

Hamilton {laughing) . I guess that's so. And you 
might mention handwriting. 

Morton. I might mention many things that I 
haven't. Just see that this drawing is in proper con- 
dition before it leaves the office and send a print to 
O'Connell and Company. 

Hamilton. I will. 

(Morton starts for his private office, l. At the door 
he turns.) 

Morton. Where is Tommy? 

Hamilton. Tommy went to the post-office. 

Morton. Anywhere else? 

Hamilton. No. 

M^ORTON. He has been gone a long time. 

Hamilton {looking at his watch). Nearly an hour. 

(Morton comes hack a few steps toward the center of 
the stage.) 

Morton. An hour for a fifteen-minute errand! 
Hamilton, what are we going to do with that boy? 
He's utterly useless to me. He's not interested in his 
v/ork, he makes no attempt to keep things in order, he 
disobeys instructions, he pays no attention to what I 
tell him. 



JERRY S JOB TI 

(Hamilton swings around on stool to face Morton.) 

Hamilton. I know whrt I'd do. 

Morton. You wotild 

Hamilton. Can him. 

Morton. Send him to me when he comes back. 
I'm going to give him a lecture. If that has no effect 
we'll look for another boy. 

(Morton turns back l. Hamilton starts for the 
draughting room, door, r. As each is about to go 
out, the door at the back of the stage is flung open 
and Tommy enters. Both men turn about and face 
him. Tommy wears a cap over one ear and keeps it 
there during the early part of the following scene. 
Seeing Morton eyeing him sternly he starts at once 
on a voluble monologue, as if to anticipate questions.) 

To^iMY. Gee, there was a mob in the square in 
front of the 

Morton. Where have you been? 

Tommy. Post-office. 

Morton. Does it take you an hour to walk two 
blocks to the post-office and back? 

Tommy. No, of course not, but you see I went to 
the post-office, an' I was comin' back in a hurry, an' I 
put on so much speed I guess I kind o' lost control o' 
the steerin' gear, an' first thing I knev/ I butted up 
against an old duck in a silk kelley in the crowd an' 
like to knocked the wind out of him, an' — an' he 
grabbed me an' a cop come along, an' I ducked an' run, 
an' — an' — well, I couldn't come straight here wit' a 
cop after me, could I? So I beats it down Water 
Street an' the cop chasin' along behind, an' into Con- 
gress Street, an' from Congress to State, an' down 
State to Merchants' Row 

Morton {solemnly). H'm, yes. That will do. 

Tommy. Yes, an' 

Morton. Your story is highly interesting 



(Tommy suddenly recollects another item.) 



12 JERRY S JOB 

Tommy. Oh, yes, an' when I got to South Market 
Street I cut through the Market, an' there was a whale 
of a big turkey hangin' on a hook by the door, an' 
when I was goin' through the blamed thing fell off the 
hook an' 

{He is telling the story with intense earnestness. His 
imagination works rapidly and he is expert in the use 
of it. Morton retains a severe expression, his eye 
constantly on the boy's face. Hamilton, greatly 
amused, turns away to conceal his desire to laugh. 
Morton raises a finger warningly.) 

Morton. Just a moment — just a moment, Tommy. 
You understand, of course, that I don't question the 
truth of your story. I merely want to remind you that 
you spend three times as much time as necessary on 
errands. You are careless. You pay no attention to 
my directions. You show no interest in your work. 
You're worse than useless. 

Tommy (interrupting). Hey, lookut! I said 

Morton (sharply). That's enough ! I'll do the 
talking now. There's a good chance in this office for 
a bright, energetic boy to work his way to success, but 
if you keep on the way you're going now, in a mighty 
short time you'll be looking for another job. Do you 
understand? (Tommy pulls off his cap and studies 
the button on it intently. He offers no answer.) Do 
you hear me? 

Tommy. I get you. 

Morton. Very well. 

Tommy. But say — if I 

Morton. No reply or comment is necessary. Now 
I have two errands for you to do, and I want you back 
here by twelve o'clock. (He indicates the book on the 
desk, down l.) Take that book to Mr. Rhoades, 
whose office is in the Tremont Building, and tell him 
that I thank him for the use of it. Get that? 

Tommy. Sure. 

Morton. Then, on the way back, stop at Wilson 
and Black's store and get a package that will be ready 
for me. 



JERRY S JOB 13 

Tommy. That all ? 

Morton. That's all. See if you can remember 
that much. 

(Morton goes into private office, l., closing the door 
after him. Hamilton goes out through the oppo- 
site door, R. Tommy loiters about the room a zvhile, 
looking idly at things. Finally he wanders over to 
the left side of the stage, pauses in front of the 
closed door to Morton's office, makes up a hideous 
face of derision, pulls his cap down on one ear, and 
goes out the door, c. — without the hook. Hamilton 
enters, r. He goes to the table, down r., seats him- 
self on the stool and studies the drawing zvhich he 
zvas discussing with Morton at the beginning of the 
play. For a short time he works in silence, occa- 
sionally making notes on the sheet with a pencil. 
Finally he turns to the open door, r., and calls to a 
draughtsman outside.) 

Hamilton. Jenkins ! 

{Enter Jenkins, r.) 

Jenkins. Did 3^ou call me? 

Hamilton. Fix up this plan and have two prints 
made of it — one for the office and send one to O'Con- 
nell. First of all correct the spelling of the words I 
have marked. You'll find it easier to spell correctly 
the first time than to rub out mistakes. Also put on 
these dimensions. {He indicates with his pencil.) 

Jenkins. What's the title of the drawing? 

Hamilton. Power house for the National Clock 
Company, Boston, Massachusetts. Intercolonial Con- 
struction Company, Construction Engineers, and so 
forth, and the date. 

(Jenkins removes the thumb-tacks with zvhich the 
drazving is fastened to the table. Enter Morton, l. 
He sees the hook on the desk.) 

Morton. Where is Tommy? 

Hamilton. You sent him out, didn't vou? 



14 JERRY S JOB 

Morton. Yes, but here is the book he was to take. 
Hamilton. Apparently he has gone without it. 

(Morton shows displeasure.) 

Morton. Confound that boy ! After all I said to 
him ! He is the worst specimen of an office boy I 
ever saw! {He speaks io Jenkins.) See if he's in 
the corridor. 

{Exit Jenkins at door c.) 

Hamilton. I don't think the kid pays the slightest 
attention to what 3'OU tell him. 

Morton. I don't want to fire him, but what can 
I do? 

Hamilton. A piece of seven-eighths board applied 
in the right place might command his attention for a 
while. 

{Enter Jenkins, c.) 

Jenkins No sign of him. 

Morton. Then, Jenkins, you'll have to do this 
errand for me. Get your hat and coat. 

{Exit Jenkins, r.) 

Hamilton. I'll finish this drawing myself and send 
it out. {He rolls up the drawing and goes toward the 
door, R. Morton picks up the hook from the desk 
and stands near his office door, l., turning the pages 
impatiently. The door at the hack is pushed open and 
Jerry enters, cap in hand. Both men turn and face 
him. The positions are similar to those at Tommy's 
first entrance. Jerry closes the door quietly and waits 
for some one to speak to him.) What can I do for 
you? 

Jerry. I'd like to speak to Mr. Morton. 

(Hamilton makes a motion toward Morton.) 

Morton. Just a moment, my boy. {Enter Jen- 
kins, R., having put on his coat. He has his hat in his 
hand. Morton hands him the hook.) You know 
where Mr. Rhoades's office is? 



jerry's job 15 

Jenkins. Yes, sir. 

Morton. Please return this book to him with my 
thanks for the use of it. He's leaving town this after- 
noon, and I want him to have it before he goes. 
(Jenkins takes the hook and goes out door at hack 
exit. Hamilton goes r. Into the draughtmg room with 
the drazving. Morton turns his attention to Jerry.) 
Well? 

Jerry. I came to see if you wanted to hire me, sir. 

Morton. H'ni....As an expert on steel or as a 
superintendent of construction? 

Jerry. I'm afraid I couldn't do either — yet. 

Morton. Yet — that signifies hope, at least. 

Jerry. Yes, sir. I could learn. But I could do 
errands and office work, and I think I could trace 
plans. 

Morton. I don't believe I can offer you anything 
at present. You see, we have one office boy. 

Jerry. And you don't want another? 

Morton. Heaven forbid! 

Jerry (uncomprehending) . What, sir? 

Morton. I couldn't keep track of two. My nerves 
aren't equal to the task. Have you ever worked be- 
fore ? 

Jerry. I've been going to school until two weeks 
ago. I had to leave. I didn't want to, and my mother 
kept me in school as long as she could, but — I guess 
I've got to go to work now and earn some money. 
She needs my help. 

(Morton sits in chair near desk, l.) 

Morton. And the past two weeks — have you been 
Avorking ? 

Jerry (coming dozvn c). I Avorked in a depart- 
ment store for a week, but they fired me because they 
thought I broke a glass bov/l, but I didn't. Another 
boy broke it — I saw him. 

Morton. And they wouldn't believe you Vv^hen you 
told them he did it? 

Jerry. I didn't tell them who did it. I just said 
that I didn't. 



i6 jerry's job 

Morton. Why didn't you tell? 
Jerry. I'm not a tattle-tale. 

(This straightforward declaration pleases Morton and 

also amuses him.) 

Morton. And you've been looking for work ever 



since ? 

Jerry. Yes, sir; it's hard to find. I have done a 
little work for the Scout headquarters, but that's only 
until I can find something better. 

Morton. The Scout headquarters? 

{He is puzzled.) 

Jerry. The Boy Scouts of America. I'm a Scout. 

Morton. Oh — er — yes H'm....(//^ pauses a 

7noment, thinking. Then he turns again to the boy.) 
1 may need a boy before long. If you'll give me your 
name and address I'll send for you if I want you. (He 
gives Jerry a sheet of paper and a pencil which he 
takes from the desk. Jerry takes them to the table, 
R., and zvrites, offering Morton the paper when he has 
finished. Morton reads zvhat he has zvritien. ) Jerry 
West, 26 Factory Street. 

Jerry. If you should want me right off you could 
reach me by telephone at the Scout headquarters. 
This is the number. (He zvrites the telephone number 
on the paper.) I could get here in five minutes. 

Morton (amused). Very well 

Jerry. Thank you, sir. 

{E.rit Jerry, c.^ cap in hand. As he opens the door 
Tommy is seen outside. He eyes Jerry suspiciously 
as the latter disappears, then he comes in. He 
offers Morton a small package which he fishes from 
his pocket along with numerous other things — scraps 
of paper, tobacco coupons, elastic bands, pencils, 
erasers, one shabby glove, a dirty handkerchief 
and the remains of a cake of milk chocolate. Most 
of these articles fall to the floor.) 

Tommy. Here's your package from Wilson's. 



JERRY S JOB 17 

{Having given it to Morton, he stoops to gather up 
his possessions.) 

Morton. Did you see Mr. Rhoades? 

(Without rising, Tommy pauses in his work long 
enough to look at the desk. He sees that the book 
is not there.' 

Tommy. N-no — no, sir. 

Morton. No ? 

Tommy. No — he — he (He hesitates, then, 

as if making up his mind to lie out of his predicament 
if possible, he answers while stuffing the last of the 
debris into his pockets.) He wasn't in. His stenog- 
rapher was there. 

Morton. But you left the book? 

Tommy. Yes. 

(He rises. Morton watches the boy sharply a mo- 
ment, but Tommy's gaze in return is apparently 
undisturbed. ) 

Morton. Tommy, )^ou're lying to me. You went 
off without the book, and I had to send Jenkins with it. 

Tommy. Yes, but I remembered it when I got down 
to the street, and came back for it and met Jenkins at 
the door and took it an' 

Morton. Then where's Jenkins ? 

Tommy. Gone to lunch, I suppose. 

Morton. Going to lunch early to-day, isn't he? 
(He turns back to the desk.) That's all. 

(Tommy goes out, r. He is troubled. He wonders 
whether his lie is going to serve its purpose. He is 
hardly gone zvhen Jenkins enters, c, with a pack- 
age which he places on the desk.) 

Jenkins. Mr. Rhoades asked me to give you this 
package. He is going south this afternoon for the 
winter and wanted you to have it before he left. He 
said he intended to see you personally, but probably 
won't have a chance. 

Morton. Thank you. Did you see Tommy? 



i8 jerry's job 

Jenkins. No. 

(Jenkins pauses a moment as if expecting further 
questioning, hut Morton turns his attention to the 
package, which he proceeds to open. Exit Jenkins, 
R. Enter Hamilton, r. He comes down c.) 

Morton (downi..). I think it's about time we sent 
Tommy on his way. 

Hamilton. What now? 

Morton. He came back and told me that he had 
met Jenkins outside, took the book from him and de- 
Uvered it himself. It seems that he was lying. 
(Vehemently.) I won't have that sort of a boy 
around! (Tommy appears at the door, r., as if to 
enter, but drazvs hack out of sight when he discovers 
that they are talking ahovit him.) I wish I had hired 
the lad v/ho was here asking for a job. 

Hamilton. He looked intelligent. 

Morton. Yes, I was favorably impressed. 

Hamilton. Why don't you hire him? 

Morton {decisively). I'm going to. {He finds 
the paper on which is written Jerry's name and gives 
it to Hamilton.) Call up that number and have him 
come over here. I'll attend to Thomas. 

{Exit Hamilton, l. Morton removes the wrappers 
from, his package and discovers a photograph, cov- 
ered with glass and set in an attractive frame. The 
picture, which need not he large, is a view in a 
mountainous country. Morton, thrusting the papers 
aside, examines his gift intently and with evident 
admiration. Enter Hamilton, l. He comes down 
c. Morton shows it to him. Hamilton shows 
interest.) 

Hamilton. Hello — that's a peach. V/here did it 
come from? 

Morton {dozvni..). Rhoades. Isn't that good? 

Hamilton. It's a corker. 

Morton. My favorite spot in the mountains. See 
the little lake through the trees ? 



JERRY S JOB 19 

Hamilton. Yes, it's a beautiful thing. 
Morton. Mighty good of Charley Rhoades to send 
it to me, I think. I must hang it in my office. 

{He lays the picture on the desk, l. Hamilton hands 
back the paper with Jerry's natne oit it.) 

Hamilton. I called up the young man, and he is 
on his way. 

Morton. Then the die is cast. Well, he can't be 
vvorse than the present incumbent. 

Hamilton. The present encumbrance. 

Morton. I accept the correction. Encumbrance is 
nearer the truth. Send Tommy to me. 

(Exit Hamilton, r. Morton walks slowly toward 
the door, l. As he reaches it Tommy enters, r., and 
stops near the door, half scared, half defiant. Mor- 
ton turns.) 

Tommy. Did — did you want me, Mr. Morton ? 

Morton. Yes. Thomas, I have given you warning. 
What I have said hasn't done the least good. You 
have just lied to me in regard to the errand to Mr. 
Rhoades's office. I will not have a liar in my employ. 
I'm not going to waste any more words on you. 
You're through. Mr. Hamilton will pay you your 
salary for the week. That's all. 

Tommy. Then I'm fired, am I? (Comes c.) 

Morton. Quite right. You're fired. 

Tommy. All right, but I'm goin' to say this 

Morton. I don't care to hear any more from you. 

(About to exit, l. ) 

Tommy, I know you don't, but just the same 

Morton (sharply). That's enough! Get your 
money and leave ! 

Tommy (angrily). I don't want your money ! 

Morton. Then leave without it. 

Tommy. I'm glad enough to leave! But just be- 



20 JERRY S JOB 

cause you want to make room for a little pie- faced 
mollycoddle of a 

(Morton, thorovighly angry, takes a quick step toward 
Tommy. Tommy dodges out the door, c, slamming 
the door after him. Morton's face shows his dis- 
■ pleasure. He turns sharply and goes into his office, 
L., closing the door after him. Hamilton and Jen- 
kins enter, r., the latter with the drawing which 
was on the table at the beginning of the play.) 

Hamilton. All ready to go out? 
Jenkins. Yes. 

(Hamilton spreads the sheet on the table, down R., 
and studies it a moment.) 

Hamilton. You corrected the spelling of these 
words ? 

Jenkins. Yes. 

Hamilton. Be careful of that sort of thing. Mr. 
Morton is particular, you know. 

Jenkins {lightly). I never could spell. 

Hamilton {dryly). So I have noticed. All right; 
have two blue-prints made. 

{He goes to desk, l. Jenkins rolls up the drawing.) 

Jenkins. Tommy got the can? 

Hamilton. Yes. {Sits at desk.) 

Jenkins. I thought it was coming when you told 
him the boss wanted to see him. 

Hamilton. He deserved it. 

Jenkins. He expected it. He told me he thought 
he was being fired to make room for some other kid. 
Swore he'd get even, so you'd better watch out. 

Hamilton. Do you think he'll try to wreck the 
business, or merely follov/ one of us home some dark 
night and sandbag us ? 

Jenkins {laughing). Can't say. You may find a 
bomb in the waste basket some morning. 



JERRY S JOB 21 

Hamilton. That's a bad guess. It would mean 
some work — and Tommy and work are strangers. 
Jenkins. You never can tell. 

(Exit Jenkins, r. Enter Jerry, c. He pulls ojf his 
cap.) 

Jerry (eagerly). Do you want me to go to work? 

(Hamilton sniiles at his eagerness. He rises and 
goes to door l., knocks, then pushes the door open. 
He pronounces the boy's name with mock gravity, in 
the manner of a solemn English butler.) 

Hamilton. Mr. Jerry West. (To Jerry.) Walk 
in, young man. 

(Exit Jerry, l. Hamilton zvolks to the desk. Jen- 
kins enters, r., zvith his hat on. He is still carrying 
the drawing.) 

Jenkins. I'm going down street with this. White 
and Glover are both out. 

Hamilton. No one in the draughting room? 

Jenkins. No. But I'll be back soon. 

Hamilton. Mr. M. doesn't like to have the place 
deserted. 

Jenkins (hesitating). Well 

Hamilton. Go ahead. I'll stay until somebody 
comes back. 

Jenkins. Thanks awfully. 

(Exit Jenkins; c. Hamilton crosses to door r., then, 
OS if changing his mind, recrosses the stage and 
enters Morton's office. A pause of a fezv seconds. 
Then the door, c, is pushed open part way, slowly 
and quietly, and Tommy peers in. He looks around 
cautiously, then disappears and closes the door as 
Morton, Hamilton and Jerry emerge from the 
office, l.) 

]\'IoRTON. Jerry, I'm froing to give you the respon- 
sibility of running the office for a while. Mr. Hamil- 
ton and I are going to another office in this building for 



22 jerry's job 

about five minutes. If the telephone rings take the 
message. 

Jerry. Yes, sir, 

Morton. Don't leave the office. By the way, you'll 
find a dust-rag in the draughting room behind the 
door. (Points r.) You might clean off some of the 
books. 

Jerry. Yes, sir. 

(Exit Jerry, r. Morton glances at the framed photo- 
graph on the desk. He picks it up.) 

Morton. The more I look at that thing die more I 
like it. 

Hamilton. It's certainly a corker. 

(Morton replaces the picture on the desk and the tzvo 
men go out, c. Jerry returns zvith the dust-cloth 
and for a fezv moments busies himself cleaning the 
furniture and books on the shelves up r. and l. The 
telephone in Morton's private office rings. Jerry 
enters the office, l. The door, c, is pushed open 
again, and Tommy comes in quietly. His manner 
of looking about furtively and of walking softly and 
noiselessly gives the impression that he is bent on 
mischief. He goes to the draughting room door, R., 
and assures himself that there is no one in that room. 
He crosses l. and looks through the door into Mor- 
ton's offixe. For a moment he watches the boy 
within, theri recrosses r., as if searching for some- 
thing. He disappears through door R. Terry 
reenters, u, and proceeds with his dusting. For a 
while he works diligently, then the telephone rings 
again and he again enters the private office. Tommy 
conies out of the draughting room, hurriedly. He is 
trying to wipe ink stains from his fingers. He ap- 
pears to be a little frightened. He goes quickly to 
door c, then, as if struck with a nezv idea, he runs 
to the desk, down l., seises the framed picture, comes 
down R. in front of table, places it on the floor, glass 
up, and digs his heel into it viciously, smashing the 
glass. Then, in great haste to escape, he dashes to 



jerry's job 23 

door c, hut halts as Morton's voice is heard out- 
side. He retreats in confusion as the door is opened 
and leaps hack into the draughtijtg room, r., out of 
sight. Morton and Hamilton enter, c.) 

Morton. Well, that's settled. Very convenient, 
having your lawyer in the same building. 
Hamilton. It saves time. 

(Jerry enters from the private office, l. He has a slip 
of paper in his hand.) 

Jerry. Two telephone messages. Mr. Jackson will 
call again in half an hour, and Mr. Polar Bear will be 
here at three o'clock. 

Morton (in astonishment). Polar bear! 

Jerry. It sounded like that. He repeated it, but I 
couldn't hear him very well. 

Morton (/o Hamilton). Have w^e any polar bears 
on our calling list ? 

Hamilton. Doesn't he mean Paul R. Thayer? 

Morton. Oh, Paul R. Thayer! 

Jerry. Yes, sir. I guess that's it. 

Morton. All right. Let him come. Has any one 
been here v/hile we were out ? 

Jerry. No, sir ; nobody at all. 

(Morton, still amused and repeating the words " polar 
hear" to himself, exits l. Exit Hamilton, r. 
Jerry resumes his dusting up l., taking down hooks 
and papers and cleaning them carefully. Suddenly 
Hamilton comes in, greatly agitated. He hears a 
large drazving, in the center of which is a large 
splash of hlack ink.) 

Hamilton. How did that happen ? 

Jerry (in surprise). I don't know. (Comes c.) 

Hamilton (r.). You don't know ! That's strange. 

(Morton comes from office, l. ) 

Morton (l.). Why, what's that? 
Ham-ilton. Front elevation of the Manufacturers' 
Building ; nearly completed and probably ruined. 



24 jerry's job 

Morton. AVho did that? 

Hamilton. That's what I want to know. 

Morton (to Jerry). Do you know anythhig about 
it? 

Jerry (c). No, sir. I haven't been in that room 
except to get the dust-cloth right there behind the door. 

Morton. Then it must have been done before the 
boys went out. (Comes dozvn l.) 

Hamilton. It has been done very recently. The 
ink had hardly begun to sink in when I found it. You 
can see for yourself that the edges aren't dry. 

{Crosses l.) 

(The two men examine the sheet carefully. Morton 
turns to Jerry and looks at him a moment before 
speaking. J he expression of his face indicates his 
suspicion. Jerry comes dozvn r.) 

Morton. You are sure that no one has been in the 
draughting room while we were out ? 

Jerry. Yes, sir. I was right here all the time ex- 
cept when I answered the telephone. 

Morton. Very strange. {He crosses r. in front of 
table. His foot touches the broken glass. He looks 
down, and with a cry of astonishment picks up the 
picture, from which falls a shower of glass. Moves 

to c. wiih picture.) Why, what in the world 

(To Jerrys) Perhaps you can explain this. (Jerry 
shakes his head nervously.) Can't you speak? 

Jerry (dozvn r.). I don't know anything about it, 
sir. 

Morton (c). Nonsense! Don't tell me that! 

Jerry. I don't know anything about it, sir. 

Morton. Don't say that again ! That picture was 
on the desk when I went out ten minutes ago. Now I 
find it smashed on the floor. You have been here 
alone. What am I to infer from that ? 

Jerry. It looks as if I did it, but, honest, I didn't. 

Morton. I have fired one boy to-day for lying 
to me. 

Jerry. But I'm not Iving. 



JERRY S JOB 25 

(Morton i^irns away, up l., out of patience. Jenkins 
enters breezily, c.) 

Jenkins. The heating contractor says {He 

catches sight of the mined drawing.) Hello ! 

Hamilton. Have you any idea who is responsible 
for this ? 

Jenkins. I ? No. It's happened since I went out. 

Morton. You're sure of that ? ( Conies down l. c. ) 

Jenkins. Absolutely. I stopped to look at the 
drawing as I left the room. 

Hamilton. And there was no one else in the 
draughting room ? 

Jenkins. Not a soul. 

Morton {to Jerry). Then, young man, if no one 
else has been here you did these things yourself, and 
you're lying to me ! 

Jerry. I am not lying ! 

Morton. Look here ! If you had done these things 
by accident and had told me of them I could have 
overlooked them, but to have done this damage — and 
there has been nobody else to do it — and then to have 
tried to lie out of it — I've got no further use for you ! 

Jerry. Mr. Morton, I tell you 

Morton. Don't you lie to me again ! Get out ! 

Jerry. But won't you please 

Morton. I told you to get out ! I mean it. 

(Morton turns away in anger and enters his office, l. 
Hamilton follows him, closing the door, l. Jen- 
kins starts for draughting room, r. Hamilton 
opens the door, l., and calls.) 

Hamilton. Jenkins ! 
Jenkins. Yes, sir. 

(Hamilton zvithdrazvs into the office, l. Jenkins 
crosses l., and exits. The door is closed. Jerry, 
downcast, walks dejectedly to door c, opens it as if 
to go out, then, remembering that he has left his hat, 
closes the door and walks to the left side of the 
stage. At this moment Tommy dashes out from the 



26 jerry's job 

draughiing room, evidently thinking that Jerry has 
departed. Jerry wheels about. The boys face each 
other in surprise.) 

Jerry (l.). Who 



Tommy (r.). Shut up! You're the guy that did 
me out o£ a job. A lot of good it did you, too. 

Jerry. It was you who 

Tommy. No, it wasn't, see ! If you open your head 
I'll knock your block off ! 

Jerry. No, you won't! You poured that ink 

Tommy. I didn't ! Keep still ! 

Jerry. I won't keep still. You've got ink on your 
hands right now. 

Tom m y ( frantically ) . Shut up ! 

(Tommy dashes tozvard door c. in an attempt to escape 
from the office. Jerry leaps in front of the door to 
cut off his escape. Tommy strikes at him furiously. 
They come down r. There is a brief, sharp struggle, 
and Tommy falls back, losing his balance and crash- 
ing to the floor among the pieces of glass, down r. 
The fall stuns him, and for a motnent he lies motion- 
less. Jerry takes a step toward him, a liitle fright- 
ened, then runs to Morton's door, u, and raps.) 
Jerry. Mr. Morton! 

(Enter Hamilton, l.) 

Hamilton. Well, what do you w^ant? (He catches 
sight of Tommy.) What's this? (Morton and Jen- 
kins enter, l.) Where did he come from, and what's 
the matter with him? 

Jerry (ttp c). Just as you went in there he came 
running out of that door (pointing r.) and I tried to 
keep him from going out and — and he hit at me and 

fell 

(Morton crosses r. to Tommy.) 

Morton. Get up. (Tommy moves a little and says 
something unintelligible, but does not rise. Morton 
pokes him with his foot.) Come — get up. 

Tommy. My wrist's cut. I can't. 



JERRY S JOB 27 

'(Jenkins, zvho has come down r., back of Tommy, 
suddenly stoops.) 
Jenkins. He's bleeding. 

(Hamilton crosses r. and kneels beside the boy.) 
Hamilton. He's cut his wrist. 
Jenkins. On the glass. 
Hamilton. Why, he's bleeding badly ! 
Jerry {pushing ^ forward). Let me see. 
Morton {pushing him aside). Stand back. 
Hamilton. Get a bandage. 
Morton. Here, let me do it. 

{He tries to bandage the wrist with his handkerchief, 
but does it badly. The blood on Tommy'.? wrist and 
on the bandage may be poured from a small bottle 
of beef juice concealed in Morton's handkerchief.) 

Hamilton. Fasten it this wa} 



Morton. No, no — that won't stop it. 

(They struggle frantically to stop the flow of blood. 
Jerry is circling about them nervously.) 

Hamilton. There, that's right 

Morton. Tie that. 

{Having wound the bandage about the zvounded wrist 
they attempt to tie it fast.) 

Hamilton. The blamed thing won't stay tied! 
For heaven's sake send for a doctor. 

(Jerky, who has been grozving more and more im- 
patient, suddenly shoves Jenkins aside and drops 
on his knees at To:\rMY's side. He pulls up the 
arm. ) 

Jerry {to Hamilton, aiifhoritatively). Field his 
arm 'there. (Hamilton holds the boy's arm firmly.' 
Jerry^ unknots the bandage and rebinds it above the 
wrist.) Get me a long pencil, somebody. (Jenkins 
produces a pencil. Jerry forms a tourniquet, tight- 
ening it by means of the pencil and fastening the pencil 



28 



JERRY S JOB 



SO it cannot become loosened. Then he bandages the 
cut.) There, that will hold all right until he can 
get it dressed. 

(They help Tommy onto his feet.) 

Hamilton. How do you feel? 
Tommy. All right. 

(He says it tremidously , but still zvith a trace of the 
characteristic bravado in his voice. He is rapidly 
recovering his self-possession, but he is somewhat 
weak and ''wobbly.") 

Morton. You'd better go to a doctor's office. I'll 
send for a taxicab. 

Tommy (c). I don't want no taxi. I'm goin' 
home. 

(In addition to his unsteadiness, due to the accident, 
he seems to be awkzvard and ill at ease. He makes 
his zvay toward the hall door.) 

Morton (dozvn l.). Don't you go home or any- 
where else until you have had that w^ound properly 
dressed. 

Tommy. Aw — I ain't hurt much. 

Morton. You came mighty near being badly hurt. 
You have a cut on your wrist that may prove serious if 
you don't have it attended to at once. 

Tommy. It don't hurt. 

Jenkins (down r.). Gosh! I should think it 
would ! 

Tommy. Not — not much. (It does pain him, but 
he tries not to shozv his discomfort.) I — I'll take a 
walk down to the Relief Hospital and have it fixed up. 
One of the ambulance drivers is a friend of mine. 
^ Hamilton. You'd better ride. 

(Goes lip c. to Tommy.) 

Tommy. I will not. I'll walk. It ain't far. 
Jenkins. I guess I'd better go with him. 
Jerry (r.). No, I'll go. 



jerry's job 29 

{He steps to Tommy's side. Tommy turns against 
him fiercely. ) 

•Tommy. No, you won't. I don't want no help 
from you. 

Morton. Look here, young man, do you know that 
you may owe your Ufe to this boy ? 

Tommy. I owe the loss of me job to him. 

Morton. You get that idea out of your mind at 
once. This fellow had nothing whatever to do with 
the loss of your job. You know perfectly well why 
you were tired. I gave you warning before I ever saw 
Jerry. 

Tommy. Well, if it hadn't been for him 

Morton. If it hadn't been for him we would have 
run the office without an office boy until we found 
another. If it hadn't been for him you might have 
bled to death there on the floor while the rest of us 
were trying to tie up your wrist. Instead of this hos- 
tility it would be better to thank him for saving your 
life.' 

(Tommy* is beginning to realize how things really 
stand. He looks at Jerry a moment without speak- 
ing, somewhat embarrassed. Then his gaze shifts 
to the other faces questioningly.) 

Jenkins. That's right, Tommy. You owe it to 
him. 

(Tommy looks at Jerry again.) 

Tommy. Is that right, kid? 

Jerry. Oh, I just tied it up. 

Tommy. Straight goods, didn't you try to do me 
out of me job? 

Jerry. No. I wouldn't have come here if I'd 
thought I was going to take your job away from you. 

Tommy. Aw — I — I dunno 

Jenkins. Be a sport, Tom. 

Tommy (to Jerry). I guess I ain't got anything 
against you. I — aw, say, I busted that picture. 

Morton (l.). Oh, you did! 



30 jerry's job 

Tommy. Sure. I own up to it. I thought I had 
it in for him, so I sneaked in when he was at the tele- 
phone an' smashed it. I did it to get even. I thought 
he'd get the blame for it. Then youse come in an' I 
couldn't make my get-away, so I hid in the draughtin' 
room closet. I was tryin' to git out when he caught 
me. 

Morton. So you're the guilty party. 

Tommy. Guilty, yer honor. 

Morton. And you poured the ink on that drawing, 
too? 

Tommy. That drawing? No — no, I 

Morton. What's that ink on your fingers? 

Tommy. That's been there all the morning. {He 
looks guiltily at Jerry.) I got that on there when I — 
when I — aw, what's the use? {He is speaking chiefly 
to Jerry.) I was tryin' to put that over on you, too. 
I done it. 

Jerry. I know it. 

Tommy. How'd you know it? 

Morton {to Jerry). You told me that you didn't 
know who did it. 

Jerry. I didn't then. I found out when I bandaged 
his wrist. There's a funny scar on his thumb, where 
the ink stain is. You'll see the mark of it on the 
drawing. 

(Morton examines the drazving, which is on the desk, 
dozvn l.) 

Morton. You're right ! 

Tommy. If you knew why didn't you tell on me? 

Jerry. I'm no tattle-tale. 

Tommy. Say — you're — you're different from what 
I thought you were. I wouldn't have tried — what I 
did — if I'd known. 

Jerry. Oh, that's all right. 

Tommy. Where'd you learn the Red Cross stuff? 

Jerry. It's part of the Boy Scout training. 

Tommy. Are you a Boy Scout? 

(Hamilton comes dozvn l.) 



JERRY S JOB 31 

Jerry. Yes. I'm a Scout. They teach you lots of 
things — first aid. and athletics and how to live in the 
woods and wireless and — and how to live right — ■ 
straight, I mean. 

Tommy. Gee! I w4sh I'd had a chance like that. 
I've had kinder hard luck. It's the gang I travel wdth, 
I guess. They're a cheap crowd, but I w^as bi'ought 
up with 'em. 

Jerry. Why don't you join the Scouts? 

Tom m y ( eagerly ) . Could I ? 

Jerry. Sure. I'll get you in. Will you join? 

Tommy. Would they take a — a roughneck like me? 

Jerry. Of course they'd take you. 

Tommy. I'd like to join. 

Jerry. Good. 

Tommy. Say — you're all right! 

Morton. Tommy, I iired you because you weren't 
worth a dollar a year to me. But if the Boy Scouts or 
the Salvation Army or any other human agency can 
make a decent sort of boy out of you I'll get you a 
good job. What do you say ? 

Tommy (up c). You're on ! 

Morton (down l.). Consider yourself on proba- 
tion for a few weeks and come around occasionally and 
report to me. I'll help you if you mean business. 
Now go dow^n to the Relief Hospital and have that arm 
dressed. 

Tommy. Yes, sir. 

Jerry. I'll go with you. 

Tommy. No. I'd rather go alone. That cut ain't 
anything. I can stand on me own feet. (He goes to 
door c. There he stops.) Don't forget about the 
Scouts. 

Jerry (r. c). No, I'll let you know. 

(Tommy opens the door, then turns again. Hesitat- 
ingiy he comes back and holds out his uninjured 
hand to Jerry. The boys shake hands. Tommy 
goes out. Jerry zvaits a second or two, then starts 
to follow.) 

Morton. Where are you going? 



^2 JERRY S JOB 

Jerry. You said I v/as fired. 
Morton. Fired ! No, I need you. 

Jerry. I'm not 

Morton. Not by a long shot. Sweep up that glass. 

(Jerry starts to work with enthusiasm as the curtain 
falls.) 

Jerry Hamilton 

Jenkins Morton 



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